Disrupting Gaze and Race with Marton Robinson's Tecnologías deculoniales.
This article focuses on three artworks from the series Tecnologías deculoniales by Afro-Costa Rican artist Marton Robinson. His oeuvre has developed at the intersection of portraiture, performance, and the installation of multimedia artifacts. This series puts artistic and photographic processes and...
| Publicado en: | Hispanic Review Vol. 94; no. 3; pp. 367 - 393 |
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| Formato: | Artículo |
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University of Pennsylvania Press
Summer2026
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=195931617&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 195931617 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00182176 HIR jtl: Hispanic Review issn: 00182176 maglogo: N pubinfo: dt: Summer2026 vid: 94 iid: 3 pid: 4636 pub: University of Pennsylvania Press artinfo: ui: 195931617 10.1353/hir.2026.a997064 ppf: 367 ppct: 26 formats: fmt: – @attributes: type: T – @attributes: type: P size: 1.2MB tig: atl: Disrupting Gaze and Race with Marton Robinson's Tecnologías deculoniales. aug: au: Porto, Cristina E. Pardo affil: Syracuse University su: Robinson, Marton Portrait painting Hispanic Americans Imperialism Racism sug: subj: Robinson, Marton Portrait painting Hispanic Americans Imperialism Racism keyword: Cristina Pardo Porto Decolonial Gaze History of Photography Marton Robinson Race Tecnologías Deculoniales Visuality ab: This article focuses on three artworks from the series Tecnologías deculoniales by Afro-Costa Rican artist Marton Robinson. His oeuvre has developed at the intersection of portraiture, performance, and the installation of multimedia artifacts. This series puts artistic and photographic processes and practices at the center of decolonization, consequently satirizing Anglo-European decolonial theory. I elucidate the historical relationship between gaze, visuality, and race by analyzing two video performances, Daguerreotype and Slot Machine , and the photo series Deculonialidad. By enacting his oppositional gaze, Robinson reverses the power dynamics that have shaped privileged ways of seeing in history and constituted current racist visual regimes across national divides, particularly those imposed on contemporary Afro-Latinx communities in Central America, the Caribbean, and the US. Building on Robinson's work, this article proposes a transhistorical, transregional framework to rethink the "official" history of photography from a deculonial perspective. I analyze three artworks from the series Tecnologías deculoniales by Afro-Costa Rican artist Marton Robinson. His oeuvre has developed at the intersection of portraiture, embodiment and performance, and the installation of multimedia artifacts. This series puts artistic and photographic processes and practices at the center of decolonization, and in doing so, satirizes Western Anglo-European decolonial theory. I elucidate the historical relationship between gaze, visuality, and race by analyzing two video performances, "Daguerreotype" and "Slot Machine," and the photo series "Deculonialidad." By enacting his oppositional gaze (bell hooks), Robinson's Tecnologías deculoniales reverses the power dynamics that have shaped privileged ways of seeing in history and that have constituted current racist visual regimes across national divides, particularly those imposed on contemporary Afro-Latinx communities in Central America, the Caribbean, and the US. Building on Robinson's work, this article proposes a transhistorical, transregional framework to rethink the "official" history of photography from a deculonial perspective. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Hispanic Review is the property of University of Pennsylvania Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Hispanic Review holder: University of Pennsylvania Press dt: @attributes: year: 2026 holdings: @attributes: islocal: N |
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